I've been reading a lot lately, almost manically. One thing that has
passed across my eyes is Louis Zukofsky's Complete Short Poetry.
There is something reliably thrilling, igniting, about his way with the
smallest bits of words and speech, in the poems where I can tell in advance
by looking that I'll like them, the way they're trailed thin down the
page; so with that, and with my not totally self-assured suspicion of
things I have to decode to read, why is it that I feel so compelled to
read the poems from 80 Flowers (and - understand them? ever? that
seems doubtful, and wrongheaded anyway)?

(Of course, Williams, longtime correspondent of Zukofsky (who edited
The Wedge for Williams, for one), did say something like:
all sonnets are about the same thing, which is plausible when you take
him to really be talking about his own poetry, and, hello: he didn't
mean looooove.)

I love the Just Blaze / Bleek / Free track (I almost said 'joint' with
no reservations whatsoever but then decided that noticing that I was
going to say it without reservations was still a reservation, somehow)
that Jess tipped (er there it goes again with the reservations and not)
me to, inadvertently, a while ago, that I am anxious to hear everything
on his list (that I haven't already heard - 'Goodies' is
inconsequential but pleasant, especially in the way it refracts off of
every other single beat in its little Lil Jon family). Especially
'Frei / Hot Love' - is this the same 'Frei' from Kompakt Total 5
or so?

This is exciting! Though for some reason the note that Terence
Malick was a Heidegger scholar before becoming a filmmaker is more
exciting than the other dudes' film. Which is, though, as I say, still
exciting apart from Terence Malick's being a Heidegger scholar once.

NB: I saw twenty minutes of a Terence Malick movie once. It was nice.
That's all I can say with authority.